This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Richard Strauss may be most closely associated with the soprano voice but
this recording of a selection of the composer’s lieder by baritone Thomas
Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
can be rendered with equal beauty and character by the low male voice.

Bernarda Fink’s recording of Gustav Mahler’s Lieder is an important new release that includes outstanding performances of the composer’s well-known songs, along with compelling readings of some less-familiar ones.

This live performance of Laurent Pelly’s Glyndebourne staging of
Humperdinck’s affectionately regarded fairy tale opera, was recorded at
Glyndebourne Opera House in July and August 2010, and the handsomely produced
disc set — the discs are presented in a hard-backed, glossy-leaved book and
supplemented by numerous production photographs and an informative article by
Julian Johnson — is certainly stylish and unquestionably recommendable.

Recorded at a live performance in 2012, this CD brings together an eclectic
selection of turn-of-the-century orchestral songs and affirms the extraordinary
versatility, musicianship and technical accomplishment of mezzo-soprano
Magdalena Kožená.

Once I was: Songs by Ricky Ian Gordon features an assortment of
songs by Ricky Ian Gordon interpreted by soprano Stacey Tappan, a longtime
friend of the composer since their work on his opera Morning Star at
the Lyric Opera of Chicago.

Alfredo Kraus, one of the most astute artists in operatic history in terms of careful management of technique and vocal resources, once said in an interview that ‘you have to make a choice when you start to sing and decide whether you want to service the music, and be at the top of your art, or if you want to be a very popular tenor.’

In the thirty-five years immediately following its American première at the Metropolitan Opera in 1914, Italo Montemezzi’s ‘Tragic Poem in Three Acts’ L’amore dei tre re was performed in New York on sixty-six occasions.

Known principally for its two concert show-pieces for the leading lady, the success of Francesco Cilea’s Adriana Lecouvreur relies upon finding a soprano willing to take on, and able to pull off, the eponymous role.

It would be condescending and perhaps even offensive to suggest that singing
traditional Spirituals is a rite a passage for artists of color, but the musical heritage of the United States has been greatly enriched by the performances and recordings of Spirituals by important artists such as Paul Robeson, Marian Anderson, Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jessye Norman, Barbara Hendricks, Florence Quivar, Kathleen Battle, Harolyn Blackwell, and Denyce Graves.

As a companion to their excellent Great Wagner Singers boxed set
compiled and released in celebration of the Wagner Bicentennial, Deutsche
Grammophon have also released Great Wagner Conductors, a selection of
orchestral music conducted by five of the most iconic Wagnerian conductors of
the Twentieth Century, extracted from Deutsche Grammophon’s extensive
archives.

A modern way to embed diverse operatic arias into a unified storyline,
Buddug Verona James is brilliant as Pedrolino, il magnifico. Il
primo castrato del mondo! A one-woman show, it premiered at the Theatr
Mwldan in Wales and its operatic offerings are collected here on this
must-have Handel-centric collection.

Several years ago, I heard Buddug Verona James perform the title in
Gluck’s reform opera Orfeo ed Euridice in Toronto with Opera
Aetelier. She was quite wonderful in the role, to say the least, and I
have since continued to keep track of her career. Not only is Ms. Verona
James an accomplished singer, she is also a consummate actor, a notion that
is fully exhibited here in this recording. Even without seeing her, one can
hear the drama through her singing and she is, as ever, infinitely
expressive.

Although Handel was not Italian, he specialized in writing operas based in
the Italian aesthetic but he expanded upon the already existing style and
created heroic roles for the most beloved and cherished voice of the day, the
castrati. Castrati were, in essence, men who had glorious
voices as young boy sopranos and whose family would offer them to the service
of the church. In a barbaric practice that ceased around the end of the
century, the young boys would not be entirely castrated, rather, a specific
artery would be severed that allowed their voice to sing in the upper
register where a soprano or mezzo-soprano would normally sing, even after
puberty. These voices possessed incredible power and the capability of
effecting intensely long lines of florid coloratura. For this
reason, Handel began to write arias that were embedded with
coloratura and lugubriously long-winded lines. Today, mezzo-sopranos
often perform the roles of the castrati, however Buddug has caused a
pseudo cross-dressing innovation by being a woman who is playing a man who
sings like a woman.

The CD opens with one of Handel’s delightful and charming arias, “Dopo
Notte” from Ariodante. Each aria is associated with the name of a
historical Castrato, in this case Carestini (c1705-c1758). It begins with a
lovely balanced instrumental introduction, from which Ms. Verona James glides
in using appropriate aesthetic properties, voce bianca and swelling
into a gloriously full-bodied sound with vibrato. Her Italian is quite
wonderful and authentic, with significant use of legato for affect. Ms.
Verona James’ voice is a lovely burnished mezzo with a spectacular
squillo in the upper tessitura. Her fioritura on “vago sole” is
a technical wonder and she ends the prima parte by applying a trill
affect that is so stunningly produced that it seems almost computerized.

The instrumental consort is supportive and never over-bearing. They
interact with each other, and provide a solid foundation for Ms. Verona James
glistening passages. The contrasting B section of the aria is well produced,
with the Violin first stating the coloratura passages that Verona
James applies directly after, in an imitative fashion.

The return of the opening section is imbued with textual-painting, and her
fioritura and use of baroque aesthetic practice is to be commended.
An expansive and wonderful depth of tonal range, Ms. Verona James’ ending
stretches from the very top of the mezzo range into a luscious chest voice,
that is commensurate with landing on the word “terra” (ground). Listening
to Handel sung by a poor singer often be boring, however there is not one
boring moment in this interpretation of one of Handel’s beloved arias.

“Cara Sposa” from Rinaldo is another of Handel’s gems. This
opens with an appropriately chosen tempo with the gamba and violins
in weepy conversation. In an aria where mezzos often blow the roof off the
opening line, Ms. Verona James sings it in a reserved and appropriate
aesthetic. The lovely dissonances are blatant here and the voice almost
resembles a member of the instrumental consort, rather than a voice being
accompanied by instruments. The instrumentalists here exquisitely perform the
lovely falling lines Handel writes for them. Ms. Verona James employs a
pathetic tone and uses minimal vibrato here, to invoke pathos. She uses the
text most powerfully. Her arrival on the word “pianti” is enough to give
one shivers. There is a painful aura about the stretched dissonances and
exuberant control applied by Ms. Verona James.

The middle section is a wonderful display of vocal control and her mastery
of the Italian language. She easily throws off the intricate text and
continues within the style of the day. This is the mark of a truly
experienced vocalist.

The ornamented return of the prima parte is lovely with circular
ornaments and some exquisite choices in terms of the Baroque penchant for
dissonance. Ms. Verona James is so lovingly bound to this aesthetic that one
wonders if this is exactly how we would have heard Handel during his day. A
truly wonderful and expressive performance without the sometimes-bombastic
interpretation of modern day singers who see this as a “big” sing and
infuse it with emotion that would not be possible by a character in such
pain.

From La Resurrezione, Ms. Verona James, in the style of
“Senesino,” sings the aria “Piangete.” A lovely opening, this aria
demonstrates how Handel oftentimes moves to key areas that are not
anticipated. The lower range of Ms. Verona James voice is expressed here. It
is seamless; there is not even a hint of shifting through the
passaggi. Her expressive application on “Piangete, sì piangete”
is perfectly matched by the weeping quality of the gamba that is
also in its lower range.

On an aside, most of Handel’s arias are more historically known as
Da Capo arias (where there is an ABA form followed in the music,
with the B section exhibiting a contrast from the A material. The opening
material is then repeated but ornamented by the singer, and should be in
authentic aesthetic practice.

“Sento la gioia” is from an opera that is not often performed but that
consists of several attractive arias, Amadigi. Ms. Verona James has selected
two contrasting ones from Amadigi for this recording. She has been
wise to select arias that display the different areas of her voice. This lies
definitely in the mid-range and is a shimmering display of coloratura and
technical prowess. The word “scintilla” and “stella” (glimmering
stars) is almost representative of her vocal quality. In a most wonderful
moment, the instrumentation stops while she holds an extended tone in
voce bianca that is breathtakingly beautiful. The middle section is
introduced by a lovely duet by the violins. Again, Ms. Verona James gives an
authentic textual performance here. The return of the opening material is
more imbued with vibrato and full-bodied singing, as the style suggests. Her
fioritura is priceless, breathtaking, and effortless

One of Handel’s most beautifully written arias is “Pena Tirana,”
also from Amadigi. This is a lovely opening with a glorious
expansion of dissonances. In a more weeping interpretation than is sometimes
presented, Ms. Verona James is secure and stately in her aesthetic value.
When in duet with an instrument, she is always sensitive to the instrumental
value and doesn’t cloud its importance with her own voice.

The B section begins with a repeat of the opening instrumental material
with a lovely falling line. Imbued with a continuing lyrical bass line,
Handel creates a countermelody that functions effectively with the voice.
Perhaps Ms. Verona James use of “t’s” in the Italian here are a little
too explosive for authenticity’s sake and could have been softer. The repeat
of the opening material is beautifully ornamented and effected by both
soloist and ensemble.

In “Ho un non so che nel core” used in La
Resurrezione/Agrippina/Il Pastor Fido the opening, in duet with a solo
violin is rhythmically exciting and Ms. Verona James’ voice is open and
freely spinning here. The following display of cross-rhythms created by the
instrumental ensemble is not anticipated. The instrumental group sounds more
like a swing-group. Here we have juxtaposition of modernity over a historical
voice. I had an excellent laugh at the end of this, especially with the
interjecting “Hey!” by the instrumentalists. After a CD of serious and
technically riveting moments, this comes as a surprise and is a little
shocking at first, but pleasantly so.

Welsh Mezzo, Buddug Verona James

“Addio miei sospiri” from Orfeo ed Euridice is the only
offering by Gluck and ends the CD in, what is, a lovely display of Ms. Verona
James’ tonal range and almost unbelievable ornaments. A good number of
years ago, a young mezzo emerged with such coloratura that it was
said to be almost impossible, Cecilia Bartoli. Listening to this, I would
equate Buddug Verona James with a similar technical ability for creating such
seamless coloratura; so similar, in fact, that I am going to go so far as to
suggest that displaying these two singers in the same production would be
more than remarkable. Brava Buddug! This true historical and technically
masterful singer deserves to be recognized and valued in the opera world as a
brilliant gem.